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Watching Shakespeare on television

Author: Herbert R Coursen
Publisher: Rutherford [N.J.] : Fairleigh Dickinson University Press ; London ; Cranbury, NJ : Associated University Presses, ©1993.
Edition/Format:   Print book : EnglishView all editions and formats
Database:WorldCat
Summary:
Watching Shakespeare on Television looks at Shakespeare as a cultural phenomenon and at the videocassette as "text"--That is, as an object fixed in time as well as in its assumptions about its medium. Even films made to be shown at a cinema are also designed to become cassettes for the vast "secondary" market. H.R. Coursen's study of Shakespearean films and television productions includes such classics as Olivier's  Read more...
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Genre/Form: Criticism, interpretation, etc
Television adaptations
Additional Physical Format: Online version:
Coursen, Herbert R.
Watching Shakespeare on television.
Rutherford [N.J.] : Fairleigh Dickinson University Press ; London ; Cranbury, NJ : Associated University Presses, ©1993
(OCoLC)622167046
Named Person: William Shakespeare; William Shakespeare; William Shakespeare; William Shakespeare
Material Type: Internet resource
Document Type: Book, Internet Resource
All Authors / Contributors: Herbert R Coursen
ISBN: 0838635210 9780838635216
OCLC Number: 27728522
Description: 198 pages : illustrations ; 24 cm
Contents: Some problems, some responses --
Style in "Dream," the ART version --
"Alas, poor Yorick!" --
Gertrude's story --
Playing space : the Kline "Hamlet" --
Editing the script --
Closure in "Hamlet" --
The case for a black Othello --
"'Tis nudity" : Peter Greenaway's "Prospero's books" --
Epilogue : The stage in the global village.
Responsibility: H.R. Coursen.

Abstract:

This book looks at Shakespeare as cultural phenomenon and the cassette as "text" -- that is, an object fixed in time and its assumptions about its medium. Illustrated.  Read more...

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   schema:description "Watching Shakespeare on Television looks at Shakespeare as a cultural phenomenon and at the videocassette as "text"--That is, as an object fixed in time as well as in its assumptions about its medium. Even films made to be shown at a cinema are also designed to become cassettes for the vast "secondary" market. H.R. Coursen's study of Shakespearean films and television productions includes such classics as Olivier's Hamlet and Brook's and Welles's King Lear, as well as more recent productions such as Kevin Kline's and Mel Gibson's Hamlets, Kenneth Branagh's Henvy V, and Peter Greenaway's version of The Tempest, Prospero's Books. Shakespeare's scripts are designed to be "open to interpretation." That openness is not the invention of disciples of Foucault or Derrida. The "meaning" of a Shakespeare script can never be fixed; rather, it is a temporal quality that shows how a script reflects, reinterprets, or reemphasizes the cultural and ideological assumptions of a particular moment in history. Shakespeare remains popular, as Branagh's Henry V, Zeffirelli's Hamlet, and a proliferation of Shakespeare's festivals prove. The energy known as Shakespeare cannot be isolated from the culture that constantly reappropriates the scripts and creates new audiences for them. Shakespeare "works" on television because television is a linguistic medium, and because we are becoming accustomed to the diminished scale of the television (and the videocassette), as opposed to the grander dimensions of cinema. Shakespeare survives domestication, but in ways that demand investigation about why and how the scripts can work on television, and about the nature of this medium when it is charged with Shakespearean energy. Watching Shakespeare on Television looks at Gertrude, a character often clear in performance even if "unwritten" in the script, and at Hamlet's disquisition to Yorick's skull, subject to a wide range of options and interpretations. Other subjects covered are "style" in A Midsummer Night's Dream, particularly the 1982 ART production; the advantages film has over studio productions; and editing scripts for television, with a focus on the Nunn Othello and the Kline Hamlet. In the latter production, long takes contrast with the quicksilver montage technique of Zeffirelli's film version. Another chapter examines Othello as a script demanding a black actor in the lead, and it looks at the Nunn and Suzman versions as cases in point. Closure in Hamlet is analyzed as well: television, the modern medium of political closure, tends to include Fortinbras, as opposed to film which usually excludes him. Another chapter evaluates Prospero's Books, where the importation of television to film tends to erase film's field of depth and results in no improvement, regardless of the trumpeted "technological breakthrough" of high-definition television. Finally, the book peers into the future of Shakespeare's moving image, with attention paid to Peter Donaldson's Interactive Archive at M.I.T."@en ;
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